Cubism 1908 - 1920.

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Robert Delaunay.

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Presentation transcript:

Cubism 1908 - 1920

Juan Gris 1887 - 1927

Juan Gris’ Artistic Credo Bases his Cubism on “the set square and the t-square” Structures his paintings on the basis of architecture and mathematics Creates through what he termed “the art of synthesis or deductive art” Starts from a geometrical shape to create an object First comes the imaginary concept of the painting (archetypal structure) Is followed by its confrontation with reality

Juan Gris. Portrait of Pablo Picasso (1912). Oil on canvas.

Juan Gris. Still Life with Oil Lamps (1911-12). Oil on canvas.

Juan Gris. Man in the Café (1912). Oil on canvas.

Juan Gris. The Smoker (1913). Oil on canvas.

Juan Gris. Pears and Grapes on a Table (1913). Oil on canvas.

Juan Gris. The Guitar (1913). Oil on canvas.

Juan Gris. Fruit Dish and Carafe (1914). Oil, papier-collé, and charcoal on canvas.

Juan Gris. Flowers (1914). Oil, papier-collé, and pencil on canvas.

Juan Gris. Tea Cups (1914). Oil, papier-collé, and charcoal on canvas.

Juan Gris. The Sunblind (1914). Gouache, collage, chalk, and charcoal on canvas.

Juan Gris. Man in a Café (1914). Oil and papier collé on canvas.

Juan Gris. The Table (1914). Collage, charcoal, and gouache on canvas.

Juan Gris. Musician’s Table (1914). Fusain, graphite, and colored paper on canvas.

Juan Gris. The Bottle of Banjuls (1914). Painted papers, oil, charcoal, gouache, and pencil on canvas.

Juan Gris. Still Life in Front of an Open Window: Place Ravignan (1915). Oil on canvas.

Juan Gris. Le Journal (1916). Oil on wood panel.

Juan Gris. The Violin (1916). Oil on 3-ply wood panel.

Fernand Léger 1881-1955

Fernand Léger’s Artistic Credo First employed tubular, fractured forms and bright colors highlighted by juxtaposition with cool whites Then moved on to urban and machine imagery Favored sharply delineated, flat shapes, unmodeled color areas, and combinations of human and machine forms

Fernand Léger. Nudes in the Forest (1909-11). Oil on canvas.

Fernand Léger. Woman in Blue (1912). Oil on canvas.

Fernand Léger. Woman in Red and Green (1914). Oil on canvas.

Fernand Léger. Soldier with a Pipe (1916). Oil on canvas.

Fernand Leger. The Cardplayers (1917). Oil on canvas.

Fernand Léger. The City (1919). Oil on canvas.

Fernand Léger. Three Women (Le Grand déjeuner), 1921. Oil on canvas.

Fernand Léger. “Skating Rink” in La Création du monde (1921).

Fernand Léger. Woman with a Vase (1928). Oil on canvas.

Fernand Léger. Three Musicians (1944). Oil on canvas.

Robert Delaunay 1885-1941

Robert Delaunay’s Artistic Credo Focuses on the city of Paris and its vertical structures, especially the Eiffel Tower series of paintings Uses multiple points of view as if one moment of time is captured at once: simultaneity of time and space Later explores multiple views, transparency, and simultaneity in his Windows series Exterior and interior worlds merge on a flat surface of flickering color patches

Robert Delaunay. St. Séverin (1909). Oil on canvas.

Robert Delaunay. City, First Study (1909). Oil on canvas.

Robert Delaunay. City, First Study (1909). Oil on canvas.

The Eiffel Tower Series “visions of catastrophic insight. . . ; cosmic shakings, desire for the great cleanup, for burying the old, the past . . . Europe crumbles”

Robert Delaunay. Eiffel Tower (1910). Oil on canvas.

Robert Delaunay. Eiffel Tower with Trees (1910). Oil on canvas.

Robert Delaunay. Eiffel Tower with Curtains (1910). Oil on canvas.

Robert Delaunay. Eiffel Tower (1910-11). Oil on canvas.

Robert Delaunay. Eiffel Tower: Champ de Mars: The Red Tower (1911). Oil on canvas.

Robert Delaunay. The Red Tower (1911-12). Oil on canvas.

Robert Delaunay. The City No.2 (1911). Oil on canvas.

Robert Delaunay. The City of Paris (1910-12). Oil on canvas.

Robert Delaunay. Simultaneous Windows (2nd Motif, 1st Part), 1912. Oil on canvas.

Robert Delaunay. The Windows (1912). Oil on canvas.

Robert Delaunay. Sun, Tower, and Airplane (1913). Oil on canvas.

Robert Delaunay. Simultaneous Contrasts: Sun and Moon (1913). Oil on canvas.

Robert Delaunay. Homage to Bleriot ( 1914). Watercolor on canvas.

Robert Delaunay. Simultaneous Disk (first non-objective painting), 1912-13. Oil on canvas.